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Table of Contents
Intro; Acknowledgements; Contents; Chapter 1: Introduction; Cinematic Foremothers in Argentina; Engaging Affect with Gendered Intimacies; An Affective Trilogy: Martel, Carri, and Puenzo; Bibliography; Chapter 2: Minors and Homebound Violence; Retributive Affects in Albertina Carri's La rabia (2008); The Politics of Face: Seeing Voices of Terror; Spaces in Mutation: Social Frailty and Interconnectedness; Inenarrable Episodes: Claustrophobia, Abandonment, or Autonomy?; Affective Otherness in Lucrecia Martel's La ciénaga (2001); Isabel's Mobility: Hushed Eyes, Itinerant Presence
The Compositeness of MotherhoodLucía Puenzo's El niño pez (2009): Fluid Intimacies, Affective Dwelling; The Traces of Film Noir; Displaced Adolescence: Incarcerated Bodies, Mobilized Selfhoods?; Bibliography; Chapter 3: Remediations and Affect; The Hypermediacy Appeal in Albertina Carri's Los rubios (2003); Remedial Interpositions and Glimpses of Intellectual Personhood; Reengaging Los rubios through Affective Dissent; Muted Gestures, Screaming Affects: Lucrecia Martel's La mujer sin cabeza (2008); On a Fragile Inter-Being: Accidental Voices or Voiced Hierarchies?
A Cinematic Narration of the Dead: Remediating the Ethos of State TerrorResisting Cinematic "Cultures of Rescue"; Ghostly Pasts and Contested Silence in Lucía Puenzo's Wakolda: El médico alemán (2013); The Screaming Silence; Aesthetic Returns; Bibliography; Chapter 4: Bold Boredoms, Libidinous Affects; Compulsory Boredom and Cerulean Desires in Lucía Puenzo's XXY (2007); Against Ontological Redundancy: Despondency and the Beach; Landscapes of Shifting Moods and Desires; Albertina Carri's Géminis (2005): Leisurely Boredom, Incestuous Discontent; Screening Incest, Echoing Social Stagnation
Toward Boredom and Its Aftershocks: Revisiting Affects of Ennui?Interpersonal Distrust, Divine Hopes; Lucrecia Martel's La niña santa (2004): On Waiting, Monotony, and Agentic Kinesthesis; The Affect of Touch; Public Intimacy and Disaffection: Boredom as Sustenance?; Bibliography; Chapter 5: Conclusion; Bibliography; Appendix: Filmographies; Albertina Carri (b. 1973); Lucía Puenzo (b. 1976); Lucrecia Martel (b. 1966); Bibliography; Index
The Compositeness of MotherhoodLucía Puenzo's El niño pez (2009): Fluid Intimacies, Affective Dwelling; The Traces of Film Noir; Displaced Adolescence: Incarcerated Bodies, Mobilized Selfhoods?; Bibliography; Chapter 3: Remediations and Affect; The Hypermediacy Appeal in Albertina Carri's Los rubios (2003); Remedial Interpositions and Glimpses of Intellectual Personhood; Reengaging Los rubios through Affective Dissent; Muted Gestures, Screaming Affects: Lucrecia Martel's La mujer sin cabeza (2008); On a Fragile Inter-Being: Accidental Voices or Voiced Hierarchies?
A Cinematic Narration of the Dead: Remediating the Ethos of State TerrorResisting Cinematic "Cultures of Rescue"; Ghostly Pasts and Contested Silence in Lucía Puenzo's Wakolda: El médico alemán (2013); The Screaming Silence; Aesthetic Returns; Bibliography; Chapter 4: Bold Boredoms, Libidinous Affects; Compulsory Boredom and Cerulean Desires in Lucía Puenzo's XXY (2007); Against Ontological Redundancy: Despondency and the Beach; Landscapes of Shifting Moods and Desires; Albertina Carri's Géminis (2005): Leisurely Boredom, Incestuous Discontent; Screening Incest, Echoing Social Stagnation
Toward Boredom and Its Aftershocks: Revisiting Affects of Ennui?Interpersonal Distrust, Divine Hopes; Lucrecia Martel's La niña santa (2004): On Waiting, Monotony, and Agentic Kinesthesis; The Affect of Touch; Public Intimacy and Disaffection: Boredom as Sustenance?; Bibliography; Chapter 5: Conclusion; Bibliography; Appendix: Filmographies; Albertina Carri (b. 1973); Lucía Puenzo (b. 1976); Lucrecia Martel (b. 1966); Bibliography; Index